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Kristie Macrakis, a historian of science, and Ryan Sweeder, a chemist, both of MSU's Lyman Briggs School of Science, teamed up to piece together the once-secret chemical formula for behind the Stasi's invisible ink.
The Stasi's technique of transferring top-secret messages worked like a piece of carbon paper. An agent would place a piece of paper impregnated with the chemical cerium oxalate between two pieces of plain paper. As the agent pressed down to write, the chemical was transferred to the piece of paper beneath.
The person on the receiving end of the message then developed the note with a solution of manganese sulfate, hydrogen peroxide and other chemicals. The process activated the cerium oxalate to reveal the hidden text. A successful reaction yielded orange writing.
The Stasi -- the former East German Ministry for State Security -- was created, in part, by Soviet KGB agents shortly after World War II. At that time, Germany was divided into two regions: the communist controlled East Germany and the democratic West. Stasi functioned as both internal security unit and foreign intelligence officers.
After the fall of the Berlin Wall in 1989, the confidential archives of the Stasi were declassified. A few years later Macrakis discovered in those archives the incomplete formula for the secret ink and development process.
In the Spy Lab, students become counter-intelligence agents trying to prevent a terrorist attack on a university building. Students are handed a torn piece of paper recovered from the crime scene with the location of the imaginary bomb written in Stasi invisible ink. It's up to the student counter- intelligence officers to determine the quantities of the chemicals needed to develop the message and thwart the operation.
The Spy Lab helps students learn about catalysis, redox reactions, kinetics and pH. Participants also learn the historical background of the Stasi and the politics that created the repressive ministry.
It's actually a limitation of the game engine which causes this. It's an issue with the sprite rendering due to too many active sprites at once causing them to appear to teleport and be invisible. It might have been a known limitation and they abused it just for the sake of making that level a ton harder than it needed to be.
You could also try Wolf4SDL, another port of the game, I'm not sure if it still presents the bug you were complaining about or if it has any automap, the movement should be identical to vanilla though
I honestly don't understand why this is even a question, so I was assuming that both "turn left" and " strafe left" are the same key so he's turning left while strafing left, but it seems that's no the case.
Also, I play with original scheme and don't use dedicated "strafe left/right" buttons to play, so well. Or, you can say I'm just adding fake content count to my account because I didn't actually care about the outcome :P
I wanted to use strafe right and left buttons instead but at the same time, to disable turning while I am doing strafe right and left because I will press forward and backward along with left and right. To disable turning would be a need.
I'm very confused by what you're describing. Let me see if I have this straight: You want dedicated strafe keys (i.e. WASD). But if either of those strafe keys are pressed then your turning is disabled? For example with standard WASD, you'd want your mouse completely disabled while A or D is pressed? If so, can you explain why you'd want that since that's an incredibly weird config?
It is because I find it hard to strafe with one strafe button, then press turn right-left buttons. I wanna disable turning because I would press right-left buttons by mistake when I press forward and backward while strafing, which means turning and strafing at the same time.
Your request is too specific (as I don't believe any significant number of people would use it) to add to ECWolf at this time. At some point it will have a more flexible binding system like GZDoom and then it would be possible, but that's not a near term thing. Obviously this implies that the Wolf3D TC for GZDoom could be the best option for you if you really want to treat that limit as a part of the game design (I would be shocked if id software had a round table discussion and said "we shouldn't allow the player to strafe and turn at the same time"). But then of course you wouldn't be running the Wolf3D engine anymore.
Did the official Wolf 3D port on x360/PS3 have proper strafing? I completed all levels in all 6 episodes with maxed kills, secrets and treasure (aside from the aardwolf maze level, fuck that) years and years ago, and I feel I wouldn't have done that without proper strafing
I played the first couple of episodes with ECwolf and although a decent source port, the game controls, lives system, maze levels with no maps and unmarked secrets all really pissed me off and I gave up.
Later I was recommended Brutal Wolfenstein which I was a bit skeptical about but it basically fixes all the games problems and makes it look nicer too. I presume there are options to tone down then the gore if that bothers you but at least the controls are smooth and you have a map. After playing both I think the changes made to gameplay are an improvement.
In my invisible life, I begin the day at the fertility clinic; at first every other day and eventually every day at 7 am, I write my name on a slip of paper and hand it to a receptionist. Then I sit and wait for a nurse to call my name.
Everything is smooth and choreographed, like the opening scenes of a sci-fi movie set in the suburbs. A nurse in pink Dora the Explorer scrubs waves me over, and I too am part of this movie. I walk in, smile, and take my seat. She glides across the room on her stool to gather her things and glides back while I roll up my sleeve and rest my arm on the cushion.
Dora Scrubs sucks in her breath and pokes the needle into my arm. We wait for the blood to run through the tube, but nothing comes out. She removes the needle and asks if I am okay, but she is too loud. Everyone in the movie stops to look at us. We have been demoted to audience members who have forgotten to turn off their cell phones.
She tries again, this time with all eyes on her. The room is silent as everyone waits for the vial to fill, but nothing comes out of my body. She begins to fumble through needles nearby, and eyes widen all over the room. I sit there aware that my body is now a secret that has already been told.
When she returns she asks me to wait in a chair in the corner. I move, and Dora Scrubs waves over a patient standing in the doorway. The movie resumes without me, without my body that refuses to play its part.
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